Note 49 — Chapter IV · ToC

In a letter from his mother, December 22, 1854, she quotes an extract from the Morning Post, written by a critic who had been visiting the studios in Rome, and who alludes to Leighton's sympathy with Giotto. It reads to-day as quaint and curiously antiquated as do Knight's scornful criticisms on the Elgin Marbles. Mrs. Leighton writes: "One sentence in your letter has set your dear father on the horns of anxiety. You tell us we are not to expect too much from your pictures, and remind us 'that the path which leads to success, &c. &c.' Now, Papa fancies that you had underpainted your canvas and were not satisfied with the result, and that was the cause of your writing less hopefully than usual. We have been wishing much to hear what your progress was; knowing the subject of each picture, we should have understood if you had reported progress. In case you are in want of a little encouragement, I must tell you the other day Papa enters the drawing-room with a radiant face. He held in his hand a piece of paper, and requesting my attention, he read me its contents, which I copy for you, and which I found were taken from a column in the Morning Post devoted to criticisms on artists and their works chiefly, I believe, on the Continent, but of that I am not quite sure. 'I next called on Mr. Leighton, who is employed on a canvas of many feet. His subject is'—then follows the description, after which he adds: 'Mr. Leighton will become a great artist if he advances as he has begun. His drawing is admirable, much better than that of English artists generally. Some of the figures are Giottoish in the treatment of the drapery, which is scarcely pardonable, because drapery fell flowingly about the human body in Giotto's time as well as now. Why imitate the uncomfortable line of that conventional rag? It is, however, unfair to judge of anything beyond drawing and composition in the present state of this picture, which is an extraordinary work for so young a man.' Remarks more or less favourable were made on several other artists, but nothing like what you have just read. Do you know this critic? I need not tell you how highly we appreciate this gentleman's sagacity; but jokes apart, Papa was rather puzzled at such a criticism about the drapery of some of the figures, because you excel in such folds, so it seems to us odd that you should skimp any of your figures. The same column contains observations on the subject of 'High Art' and large historical pictures, or rather comments on those made by young students, such indeed as I have heard you make, that I could almost have fancied the author was answering your remarks. We were rather startled to read in your letter that you find you had better not use the interests of a professional man to facilitate the admission of your picture into the Exhibition of the Royal Academy, but trust to its merits for that result, as we are told the Exhibition in question is, strictly speaking, a private affair for the works of the members only and such as they choose to admit, which explains perhaps the complaints of rejection one has read of from time to time. I hope your picture may be kindly judged and well hung."